I write plays about the Internet and technology. Above all else, I'm a technophile.

My hometown is the Internet. The foibles and intricacies of online interaction excite me. I use contemporary communication mediums, from texting to screensharing, as a medium for my stories. Whereas some writers look to avoid technology in their work, focusing on face-to-face conversations without computers and cell phones, I try to do the exact opposite—portraying our world through the eyes of the increasing plurality who experience large portions of life through symbiotic relationships with screens and speakers. I write not about the wonders or dangers of technology; instead I write about our technological world.

I direct new plays of all varieties. Though I’m a deep lover of technology, which I bring to the table, my directing focuses on finding the passion—and, if it's there, the obsession—the writer has in their subject matter. I bring that writer's deep enthusiasm to life in our storytelling. I also come to the table with a strong foundation of dramaturgical/contextual research at the beginning of every process—I believe in swift but comprehensive work at the table, followed by robust examination of the text on its feet. I love playing with effects and technology in the rehearsal room—designers are just as much storytellers as actors, and a strong, open conversation between us all allows design elements to fully mesh with the story and be more than just icing on the cake. I try to find the humor and likability in stories—when I see a play, I want to feel the same rush of excitement the writer felt, that carried them to the keyboard in the first place.

I run a theater company called PowerOut with two other director/playwrights, Todd Brian Backus and Nora Sørena Casey. The modus operandi of PowerOut is that every show we do is written by one of us and directed by one of us. Together we’ve produced 15 shows and counting, most of them since our New York debut in late 2014. Each of the three of us is quite different artistically, and these differences allow us to more comprehensively workshop and scrutinize our work.

I’ve also worked in various capacities in the Artistic departments of the Williamstown Theatre Festival, Manhattan Theatre Club, and Cape May Stage; and early in my career I interned in the artistic departments of Manhattan Theatre Club, The Lark, and Portland Stage Company. I have generally aided the basic duties of these companies’ producing departments—managing talent, reading scripts, participating in programming meetings, interviewing artistic hires, coordinating between artists and production departments, etcetera.

A big passion I bring to my work in producing offices is facilitating technological modernization and digital record keeping. I develop systems that allow my companies to focus on the art rather than on the busywork.